The Future is Alor
In a timely confluence, Mark Alor Powell released a new site of his work today, at the same time a post on Rob Haggart’s blog called for “a more perfect union” of photographers with their digital future(s). Mark’s site does exactly what Haggart’s post was asking for - offers large-sized content, watermark-free, while embracing Mark’s large and spirited fanbase on flickr.
Mark’s smarts were to realize that digital technology enabled him to grow as a photographer, both as a shooter, and as a way to distribute and promote his own work, and why not completely embrace that fact in how he presents himself to both clients and the world?
While the site is associative and doesn’t rely on traditional navigation, it’s immediately clear that it’s way different from the sterile portfolio sites of most photographers, which mimic the sterile walls of most galleries. Mark’s work leaps off the screen (when it loads); he’s the only photographer I know who can shoot straight documentary, low-rez digital, and have it pass for haute couture.
Haggart’s future of photography will not be found in the hushed walls of the gallery, or in the download-disabled watermarked-protected sites of copyright-scared photographers. The future’s already out there, in cheaply printed print-on-demand books, in small collaborative global-web-ventures, in xerox copies taped to lightpoles, affordably editioned prints, and in sites like Mark Alor Powell’s.
For StartersWays of Working, a 10-step introduction to the ins-and-outs of street photography with only nine steps. Or, look at Resources & Discussions.
- “Foreign & Domestic” at Columbus State University, March 12th - April 19th
- New Winogrand Restrospective 2013-2015
- Chuck Patch Discovers Winogrand’s 1964 Worlds’ Fair Women at Boston Museum of Fine Arts
- A JPG Transcript of Jacques Derrida on Photography and Not Being Photographed
- Same Same But Different
- “Street Photography Now” Fails to Cite Sources
- Winogrand/Papageorge MIT Transcription
- Street Photography Now (printer’s proof)
- Reconsidering Winogrand
- Does Haiti’s Crisis Call for a New Photojournalism?